bye bye

—after “American Pie,” sung by Leslie Cheung, a Cantopop star who died jumping off the 24th floor of the Mandarin Oriental, Hong Kong

 

boys always

haunting the gas

 

stationed at

the kum & go

 

come around yelling

happy july, all

 

these lives you haven’t filled

in all these teeth

 

a faith so deep you can

die in it, like a boy so

 

high up he thought the

swimming pool was full

 

and god willing, he

dived in it. in a

 

preemptive strike, patriotic, partirons                                                              

and party on! miss 中国

 

in 中西部,

i dismiss

 

their existence, a flotilla

with more in common

 

with a root beer vanilla

concoction than the

 

spanish armada, though

that too was a whipped

 

cream loss. dq stands

for disqualification—three

 

strikes & the cup is half

mosh pit half military

 

campaign—god is in the

good fizz—& the bottom

 

(beyond the caffeine &

fresh sugarcane) is concrete.

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Review: The Clearing by Allison Adair

Milkweed Editions, 2020

Hardcover, $22.00, 88 pages

 

The Clearing

 

Allison Adair’s debut collection, The Clearing, is a tumble down a familiar hillside that leaves the reader giggling or stuck in a blackberry bush. It is the sting of antiseptic on a hundred bramble scratches, but it is also the kiss on a forehead covered in bandages. The Clearing is painful at times, since it is a catalog of victimhood, loss, and domestic violence—desperate circumstance that sometimes ends in tragedy.

 

“Mother of 2 Stabbed to Death in Silverton” begins, “The woman was overheard in the town hall saying she was afraid / to do it, once and for all, that he would, like he’s said, and he did.” Adair shows little interest in overly intellectualizing sentiments. Instead, the sharp truth—like a late-night phone call—is often delivered deadpan, and the poetics do not suffer in the least. In fact, the plainspoken portrayal of surgically precise metaphors either jars the reader or leaves them misty-eyed. This poem ends on the neighbor’s front porch, “It was an accident, he said, I never meant it. They stood there still / as newsprint.”

 

I fear I am fixating on the grotesque, perhaps because it is captured so extraordinarily, but in truth the poetic landscapes found in The Clearing are equally delightful—the voices often nurturing and celebratory, even when wrestling with fear and darkness. In “City Life,” the narrator and her daughter are learning to live in a city full of rats: “For her, death / is the longest nap imaginable, / maybe four hours. But we always wake / at the end.” And no matter where Adair leads us—toward a mining disaster, a recurring dream, or a historical reenactment—there will likely be animals there to keep us unnerved or entertained. “I thought I knew the sound of darkness, / the slow leather collapse of a bat’s wing / folding into itself, the swollen fucking of a cloud / of them wrestling for space on the cave’s drapery.” In Adair’s world, the creatures morph continually, and the lines are winding and tourniquet tight.  “A ruined animal will drag itself miles only to become / a desiccated hutch, burrow of maggots, coyote trough.”

 

Adair’s phrases are rural incantations that swirl in the throat like heavy smoke, and each image is refreshing as a gulp from the backyard spigot—worth returning to again and again. And beneath each poem lies a meticulous sonic foundation. There is a rhythmic precision, too, that shifts in accordance with the whims of the poet. The reader is aware of their own slow breathing, for example, when an animal is trapped or desperate. At other moments, the rhythm almost mirrors the image, such as in the closing of “Gettysburg”: “The caterpillar inches along, lost / in its sad accordion hymn.” And while there are deeply personal poems in this collection, Adair is as—if not more—interested in writing about historical events and rural places, such as “Silverton, ”a town in Colorado with no more than seven hundred residents. These poems are not unlike blue whales with hearts as big as rental cars. Winner of the 2020 Max Ritvo Poetry Prize, The Clearing is a light show all its own, pungent and beautiful as a prairie fire. It is a collection one shouldn’t risk lending out, if they ever want to see it again.

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The Ballet Audition

She appeared in our Leningrad apartment one afternoon, at the start of my summer break, when I was ten years old. I was showing my self-made Mary Poppins costume to our next-door neighbor Nata, leaving the door into our apartment wide open. When I came back, she was sitting in our kitchen. My mother was fussing with the tea cups wearing her ancient blue sports pants with the material on the knees stretched out like two deflated balloons. Mom said, “Say hi to Galina Vasilievna.”

 

Galina Vasilievna came to borrow the 500+ page JCPenny catalogue; its cover showed a model in a white beret, white sweater and a white coat. It was 1985 in Leningrad and women loaned to each other fashion magazines from beyond the Soviet border: mostly Burda from Eastern Germany, or, more rarely: Bazaar, Vogue, Elle. The most coveted magazine was always the fat American catalogue because it allowed the fullest entry into the Western fairy tale. Catalogues showed beautifully proportioned tables, chairs, sofas, dolls, dog mats, and human beings built for ordinary lives and attainable for anyone in the US, for a price. That week was my mom’s turn to keep, for four long days, the catalogue that came to us from a friend of a friend of a friend. It was our last day to host it.

 

“I hear that everyone in France is into bold, large patterns and bright colors. Orange, black, yellow. Stripes! That kind of thing makes you look years younger,” my mom said.

 

Galina Vasilievna did not respond, but smiled politely. Her long neck and straight back made her look regal, even haughty, but her eyes displayed a restrained playfulness, the kind you see on the face of a kid waiting for her turn to use the swing on the playground. A large oval amber pin in her low bun pulled her entire physical presence together with precise dignified finality. She was not in a hurry at all and seemed to enjoy herself sitting on our too-low-for-the-dining-table sofa with a red brick replacing a missing leg. At the same time I was certain that she would never visit us again. This certainty felt vaguely connected to my feeling of shame because we had an old, stained oilcloth with lilacs on the dining table while she was wearing an ivory silk blouse with three pearl buttons on its cuffs. It was as if she flew into our kitchen straight from The Hermitage ballroom. Only a short moment ago she sat at a grand piano in a long, light blue dress and played a nocturne by Chopin, simultaneously reciting Pushkin’s poetry.

 

I thought my mother should feel envy sitting next to this woman who was about her age, but, observing my mother, I could tell that she didn’t feel it. It was a disappointing realization for it was proof that important things were beyond my mother. The thing beyond her, right in front of us, was the elegance of this woman. Of course I didn’t call it elegance then, and while I didn’t know the right word I did ask the right question.

 

“Are you a ballerina?”

 

I asked this question still wearing the Mary Poppins costume: my friend’s mom’s long brown dress, with a belt to keep it in place, and a large collar I made out of ivory linen napkins with lace trimmings. On my head I had a gray men’s hat that my neighbor Nadia let me borrow. Mom waved her hand behind Galina Vasilievna, signaling to me to take off the hat because it was not polite to talk with someone indoors wearing a hat. But I knew the real reason: she thought the hat looked ridiculous and now felt embarrassed on my behalf. I stubbornly pretended I didn’t see mom’s signals and kept the hat on. I kept it on because I loved it. I imagined it made me look sophisticated.

 

Galina Vasilievna asked me to sit next to her and then told me that she used to be a ballerina and danced in the corps de ballet of the Mariinsky Theater, and that now she taught ballet at the House of Culture Ballet School. She asked me about my costume and it turned out that she adored everything about it. “You have a good taste,” she told me. I could hardly breathe inside the fog of euphoria, and my voice sounded unnaturally high when I blurted to her that I wanted to be a ballerina too.

 

I went to the Mariinski Theater twice with my classmates, our school’s “culture outing” program. We saw The Sleeping Beauty in the first grade and The Swan Lake in the second grade. More recently, while visiting my friend Vera, I watched the TV ballet Anuta, based on a Chekhov short story “Anna on the Neck.” It was one of those ballet productions made for TV only; they were very popular back in the day and completely ignored in my own family. That night, every female member of Vera’s family—two sisters, her mother, aunt, two grandmothers—sat down to eat dinner in front of the TV to watch that ballet, but after the mushroom soup Vera was eager to make an escape back to my flat. I wanted to stay to watch Anuta to the end, but Vera said that ballet is the dumbest art form because dancers are mute. “Watching a Chekhov short story ballet is like watching an orchestra and not hearing a peep,” she concluded. I couldn’t get her cruel comment out of my head, and, later, when she offered to let me read her copy of Great Expectations, I told her that I no longer like Dickens because he is “stupidly judgmental and can’t enjoy things in the moment.”

 

That day, in our kitchen, Galina Vasilievna asked me to dance for her and point my feet, and do a split, and then a “bridge,” a deep bend backwards. I took off my hat and performed each request with a manic grin on my face. At one point my linen collar fell on the floor because it was not stitched to the dress. I was ready to do anything for her and was hoping for more requests or maybe even corrections, but suddenly she turned to my mom, and her tone of voice changed from a violin to a bass.

 

“Your daughter has remarkable feet and she is very flexible. Would you consider enrolling her at our school? We are auditioning girls her age in two weeks.”

 

That night I pulled the blanket over my head and entered the living room of the great Maurice Petipa, the choreographer behind The Sleeping Beauty, Giselle, and other classics. I saw his room on TV in the film about Anna Pavlova, who was born in 1881 and became one of the most famous ballerinas of all time. In the film, Petipa’s living room is exquisitely furnished in pastel colors, and the great man himself, in a white vest with a black bow, is elderly, bearded, and aristocratic. He presides over harmony, refinement, and culture. In this room, ten-year-old Anna Pavlova stands before Petipa, an enormous painting of Tzar Alexander III behind her. Petipa bows to Anna, and her audition for the Imperial School of Ballet commences. She shows him her flexibility, her eyes radiate pure deadly voltage of happiness, and she wears a long navy dress with a tiny white lace collar snugly wrapping her neck. Afterwards Petipa concludes that she is ready to be admitted into the ballet school.

 

Two days before my audition a very unpleasant thing happened to me. That day I was sent to my grandma’s for the weekend and accompanied her when she went to her hairdresser, located inside a supermarket, a ten-minute walk from her flat. Grandma, or babyshka, as I always called her, had weak, swollen feet, and it always took us forever to walk because she had to make frequent stops to rest. Our trail was muddy since that particular suburban housing area was relatively new, still under ongoing or abandoned construction, and it had rained recently. Every time I jumped over the mud puddle babyshka predicted that next time I would slip and fall. Babyshka’s weak legs could not jump over puddles and sometimes she ended up stepping right in the middle of them. As we walked she was telling me, again, about walking to the Neva River with a metal bucket for water in freezing cold during WWII when Leningrad was under the Siege.

 

On the way to the main artery Budapeshtksaya Street, where the hair salon was located, we took a short cut through an inner courtyard surrounded by Soviet-style block apartment buildings. When we passed through this courtyard we walked by a big, black rectangular bunker, a leftover relic from WWII. Being near that bunker made me feel cold horror every time. Babyshka often told me about the war, and the Leningrad Siege: about babies in tiny coffins on sleds, and how all the cats, dogs, and rats were eaten and all the furniture burned to stay warm. That bunker was once a place of safety, but it was jet black, had no windows, and its corners were rounded, making it look even creepier. I once saw a scary old man without a leg peeing into the lilac bush next to the bunker. He was wailing quietly, pitifully, like an abandoned, hurt animal.

 

At the hair salon it turned out that babyshka had arranged a haircut for me as well, free of charge. I rejected this plan because I was growing my hair out for a ballet bun. It was already difficult to do a bun with my shoulder-length hair. Babyshka and the hairdresser took turns trying to talk me into the haircut, “a little clean trim,” but I refused to budge from my decision. Our walk back was longer than eternity because babyshka did not utter a single word, stopped even more frequently, and sighed deeply.

 

When my mom arrived to pick me up she was furious. When will we have another opportunity to visit a hairdresser? Free of charge! And by the way, according to experts, trimming hair regularly helps hair grow fuller. And why did I have to upset babyshka, babyshka who wants me to look my best, babyshka with a weak heart, elevated blood pressure, and swollen feet. I pretended that I hadn’t been listening, but in fact I heard everything distinctly, saw each word in my mind’s eye as if it were written in large, red, throbbing neon letters. I began to worry about babyshka and watched her every move, half-expecting to see her collapse before my eyes. I knew I was a criminal and secretly feared that I would now suffer a punishment I deserved. Just in case God existed I prayed to him to punish me in absolutely any way he wanted, but not during the ballet audition. I then began to feel really ashamed of myself. How could I be so cold and heartless and think about my audition when babyshka’s health was more important than all of ballet and opera combined?

 

Back at our place, while my mom chatted on the phone with her best friend, I locked myself in the bathroom. I had a big scab on my knee from the time I fell from my friend’s tall bike. Earlier that day babyshka would strike my hand every time I wanted to remove even a tiny bit of that scab. So, while my mom was on the phone, I got to work and successfully removed the entire scab, and then enlarged the wound, removing healthy skin all around it. The area on my knee was large, red, and throbbing. I looked at it and imagined the audition committee, including Galina Vasilievna, looking at my knee with revulsion and pity. It was painful to bend the leg. I wanted to scream because—obviously—I was a complete idiot.

 

The day of the audition arrived and we exited Petrogradskaya subway station and then stood in a long line full of girls, ballet buns, tight-lipped moms spilling out of the building onto the street. Moms were checking out other girls to assess their thinness. Girls were checking out other moms to assess thinness of girls in the future. Looking around I thought that every mom in line was far inferior to my mom. My mom was beautiful and very thin. Natasha, my classmate, once told me that when she grows up she wants to look exactly like my mom. This memory made me feel a little better, but I was still amidst the sea of thin girls, many flexible like chewing gum because they took gymnastics at elite Soviet gymnastics studios, having been stretched by their parents for ballet and gymnastics in their infancy. Yet, I was certain that Maurice Petipa would never want a chewing gum.

 

House of Culture Ballet School was not the impossible-to-get-into Vaganova Ballet Academy, previously The Imperial Ballet School from which Anna Pavlova had graduated, but it was easily second best in Leningrad. Ballet was the USSR’s space program inside the Imperial Russia spacesuit, and only a handful of schools were allowed to carry out its mission. At these schools bodies were trained to fly for swan roles, training was free of charge, and the mission rested on a belief that ballet ought to be developed only in the right body. Those who got in were Chosen for the Future.

 

In the dressing room I got undressed down to my tank top and underwear, affixed a new Band-Aid to my knee, and entered the studio when my name was called. The judges presided over a long table. One of them was Galina Vasilievna. She wore the ivory blouse I remembered, and her head was lowered to her notebook, where she was making notes. My heart was jumping out through my throat, but I managed to do the plies, the tandus, I pointed my feet, arched my back, jumped up from the first position, then from the second, galloped across the room. When I lifted my right leg to the side, the woman who had measured my height, neck, and length of arms, held my leg by the ankle, slapping my knee hard, on the Band-Aid, to make me keep it straight and then lifted the leg as high as it could go. It went so high I could see my toes just by slightly turning my eyes to the upper right, but when she let go of my foot it did not want to stay in the high spot and fell to the floor with a forceful bang. In panic I looked at the judges, wanting to see Galina Vasilievna’s reaction, and saw that the ivory blouse was not Galina Vasilievna at all. Inside the blouse was an old woman with a skinny neck and a long, pointed nose.

 

Afterwards, in the foyer, I waited forever for the results to be posted. At last, the woman who had slapped me on the knee pinned the list to the wall next to the closed door of the studio. Girls and moms poured to the list, and most girls were crying. At first I couldn’t see anything, and then I could, and read the list again and again because my name wasn’t there. I kept re-reading, stubbornly, refusing to budge from my spot, and other girls were pushing me to make room for them.

 

My mother came up to me, held my hand, and we walked outside. We walked back to Petrogradskaya subway in silence. She then said, “You know, dear, these people are experts, they know best and they can tell if ballet is right for you. What about diving? I know you love it too. You can start with a diving group at a SKA pool in the fall. My friend Lusya knows someone who coaches the diving team and they can probably take you.”

 

Her words helped me enormously. I held onto what she said as if it were a rope I could use to climb out of a dark pit. I started thinking about Lake Kruglovskoe and imagined climbing to that secret high spot we discovered with Masha and Lera, the spot we called “insanity flight.” I pictured myself walking along the south side of the cliff, where an old bicycle could be seen sticking through the water because it was the shallow side of the lake, ankle-deep. I imagined walking to the highest point and then jumping into the lake, straight onto the rocks, feeling my legs break when I land. I lie on the rocks with my legs broken, no: one leg broken, shattered to pieces below the knee. I’m looking up at the sky, hearing someone call my name, searching for me, but I’m lying there completely still and silent, slowly slipping out of consciousness.

 

Interrupting my story my mom said, “Well, what did you expect, dear? It’s no use grieving so dramatically. Mary Poppins would never despair like that.”

 

“Mary Poppins graduated from the world-famous ballet school of Madame Corry,” I said.

 

I never read the book by Travers; my knowledge about Mary Poppins derived entirely from a popular Soviet film loosely based on that book. In that film Mary Poppins takes the children to her old ballet school and introduces them to her beloved ballet teacher Madame Corry, who never ages. The actress playing Madame Corry was a Bolshoi Ballet ballerina in real life.

 

I wanted to be left alone with my story and not talk, so I said, “It’s okay. The upside is that now I can get a haircut. A short bob with bangs, like on that model you liked.”

 

In my story my mom was rushing to the cliff looking for me and eventually she saw me from above. I was very small, very still, and way below.  She saw that my leg had been totally shattered and thought that I might be dead. When I got to this point in my story I started to cry in real life. My whole face was wet, even my hands, even my dress.

When we reached Pionerskaya subway station I suddenly realized, with a satisfying jolt of insight, that the stone I land on after I jump is covered with slimy moss. When I land I slide off the stone with full force.

 

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Garbage Day

Out the window a squirrel’s noshing on a quesadilla,

paws clasped around a tortilla shard as if mid-prayer

 

its prayers were answered. I’m making dinner again:

salmon filets like flagstones made from moon,

 

a cube of butter in the skillet spreading its skirts

while on the cutting board an onion heretics the air.

 

The truth is sometimes I call your name because I need you

to come look at this, look at how alive I am,

 

and sometimes how alive I am can only be seen
by what’s happening around me: two people cheering

 

for a dumpster-diving tree rat, one’s hair

waterfalling onto the other’s shoulder, joy

 

like a school of minnows swimming overhead—

another glorious day where we have nothing to bury

 

besides our appetites. Listen:
the dishes in the sink aren’t going to elope

 

tonight. Let’s admire the sky’s tablecloth,

its chorus of spilled salt. Let’s clasp

 

our bodies like two hands praying

and crisp the edges of grace.

 

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The Night My Number Tripled

in my recent bloodwork chart, I saw it and I fled.

Panic ripped through me like sallow gas

 

and as an animal would,

I must have believed

I could hide from my own leaking math. Pregnancy

 

or tumor—those were the options

and I wasn’t sure which one I wanted

less. Around and around I went

 

in my apartment parking lot as if pursued

through carmine alleyways. Oh, my blood

and its mutable omens. My brain and its end

 

of days. It didn’t matter

that the dusk was beautiful in the early

rainy season when the sky takes

 

on the plush and tropical hues of stone

fruits so I could remember that I lived

in a place far but not too far

 

from the ocean. Magnolia flowers sat

primly in their teacups. Gray and white

birds shone where they flew like lights

 

off moving water. It started to get dark.

My parents couldn’t find me.

My boyfriend was asleep

 

halfway across the world. I walked as if to leave

behind my body, though I understood

I had to receive what it offered me.

 

So this is what it means

to be alone, I said inside myself

and to myself as a violet wind pushed through

 

the palm fronds above me, initiating a sound I recognized

like the rustle of dry grasses

before a storm, as the first

 

stars opened their eyes to nightfall

the way an apocalypse can mean

to reveal.

 

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Review: Wicked Enchantment: Selected Poems by Wanda Coleman

Black Sparrow Press, 2020

Paperback, $15.95, 224 pages

 

Wicked Enchantment

 

One of the few good things to come out of 2020 was Wicked Enchantment: Selected Poems by Wanda Coleman, skillfully edited by poet Terrance Hayes. Describing Coleman’s work is not an easy task. Her outspoken work stretches for miles and leaves shockwaves where it lands. Hayes describes her as a “grenade of brilliance, boasts, and braggadocio.” Having lived on the edges of the poetry elitists, her body of work often neglected, she was still referred to as the unofficial poet laureate of Los Angeles by those who valued her work. A native daughter of L.A., born in 1946 in the Watts neighborhood, Coleman also wrote novels, nonfiction, and short stories. Known mostly for her poetry, she left behind a large volume of work and a legion of fans.

 

Wicked Enchantment includes selected poems from eight of her published collections. The book opens with an illuminating section entitled “Wanda In Her Own Words” that includes quotes from her other writing and interviews. There, Coleman says, “My delicious dilemma is language. How I structure it. How the fiction of history structures me. And as I’ve become more and more shattered, my tongue has become tangled . . .  I am glassed in by language as well as by the barriers of my dark skin and financial embarrassment.” Thus, the book is off and running, and delicious dilemmas of many kinds run through the entire collection.

 

Coleman’s voice as a Black woman fighting against gender and racial oppression is undeniably striking. Through poems like “Essay on Language,” Coleman gives the poetic middle finger to naysayers and cowards, “trying to be the / best i can spurred by blackness but they keep telling me the / best fashion in which to escape linguistic ghettoization / is to / ignore the actuality of blackness blah blah blah and it will / cease to / have factual power over my life. which doesn’t / make sense to me . . .” In those lines, she mocks the ivory tower advising her to take it easy and to be nice. Instead, she is “spurred by blackness” to sniff out racisms and other degradations, and she doesn’t hesitate to make them plain and clear. In “Essay on Language 6,” Coleman writes,

 

there are those who have no passion but who

are sensitive enough to sense the void within

and therefore must imagine passion. i often find

that among that kind, there are those who

detest the truly passionate out of an envious rage

that has always faced us passionate ones.

 

Sometimes the poems are surprising, laced with humor and irreverence. The title alone of “I Ain’t Yo Earthmama” suggests trouble, and then the first line throws down the gauntlet: “boogers are not my forte.” Exactly whose forte are boogers? Despite her claim, Coleman does quite well with boogers, at least as a jumping off point. From there, she goes on to combine Poseidon, experimental sex, and vomit in this juggernaut of a poem.

 

Coleman continually pushes into new territory, seeking poetic freedom. In “Dream 924,” the speaker drives a car, “and i’m flying as the speedometer / needle presses urgently against the edge. ah – the power. i / am looking for the answer. and i move forward . . .” In that speeding urgency toward freedom, Coleman has picked up descriptions like, as Hayes has described her, a “flesh-eating poet,” while others have described her as simply mean. Coleman’s intensity can be felt throughout Wicked Enchantments with lines such as “pseudo-intellectuals with suck-holes for brains” (from “American Sonnet 3”), but it’s the quiet moments in poems such as “The Saturday Afternoon Blues” where Coleman’s mastery is best experienced:

 

saturday afternoons are killers

when the air is brisk and warm

ol’ sun he steady whispers

soon the life you know will be done

 

This languid summer scene, which could feel invigorating, instead showcases Coleman’s adept ability to layer grief within quiet, even sunny, moments. To hark back to the speeding car from “Dream 924,” that same car that pushes the speed limit is perhaps most powerful when simply idling in the sun, all its inherent force just waiting beneath the hood.

 

An already strong collection, the book hits hyper-drive with the inclusion of work from Coleman’s last book, Mercurochrome. In “American Sonnet 94,” she writes:

 

weeper. this is your execution

weeper. this is your groveling stone

weeper. yours is the burst & burnings of a city

 

With each “weeper,” followed by those strangely indefinite almost percussive periods, Coleman hits a bass drum of sorrow, and the propulsive music continues throughout the book’s final section. The poems here jump as if alive, as if charged from within. “Thiefheart” is full of stunning one-liners—“i’d steal the t from the end of time”—and ends with a line that seems achingly prescient, given our current American moment of racial discord and political upheaval: “i’d steal the poison from this muthaland.”

 

Coleman’s poems are electric and profoundly inspiring. They make readers want to write poems, to read more poems, to have more faith in poetry—more faith in the difficult task of living—and to shove this book into as many hands as possible. If someone is disenchanted with poetry, or with the state of the world, I recommend reading Wicked Enchantment. Wanda Coleman’s poems turn on the lights. They set off sparks.

 

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Person of Interest + Sad Boy Public Relations

Person of Interest

山旮旯 or san ka la—a cantonese phrase meaning a place in the middle of nowhere

that’s where we met

千里眼 & 顺风耳 are two folkloric figures in china—together they’re unstoppable

顺风耳 can hear the subtlest of sounds, carried over great distances by the wind

i’ll be discreet, the coast is clear

千里眼 can see over great distances, span thousands of 里

confuse oresteia with osteria, smooth me over royal jelly

a 里 is a unit of measurement also found in korea & japan

conquer me royal navy, come here my possibility tuna

a metaphor for an impossible distance is 十万八千里 (108000里)

state college is an hour & a half from harrisburg. that’s the distance i would go for you. you drove 5

hours to see your ex

in mandarin, li (里) sounds like li you (理由)—or reason

a commie obsessed with me, commie eye candy, who wudda thought

给我一个理由忘记

hey, low sperm count

kiss me open mouth, swift like taylor

the critics have spoken: i’d rather be alone than settle for the bare minimum

rejecting you seems like the easiest thing in the world (you want to be discarded)

you play too much but seduction is a game for two

i hope one day , we are merit ,

young buck , home skillet ,

 

 

Sad Boy Public Relations

1. CONSISTENCY

 

u type immaculate to me—do u hate me

 

2. NONCHALANCE

 

untangle urself for a moment & cheer me up

 

3. CHARM

 

ur prodigious

a savant

ur gf’s so dumb she thinks contemporary music means the beatles

 

4. DRINKING

 

u obfuscate

cling onto flimsy girl

 

5. EFFORTLESSNESS

 

i kiss two fingers pinched together

pretend it is u

 

6. ATHLETICISM

 

the closest u got to sports was athlete’s foot

i feel u hard as pear

 

7. DISCIPLINE

 

hold me down

tell me u don’t like boy

 

8. PUBLIC SPIRITEDNESS

 

seel me like a hawk

i can be tame if u give me what i want

 

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That’s Often the Hardest + Diva

 

That’s Often the Hardest

Now and then I turn a corner in Brooklyn
and I see something lovely.
A cherry blossom, a blush-red brick,
children frolicking and finding something
to fight about. Unsuspecting, I’ll be
wearing my headphones, noise-canceling,
quite loud, listening to Donna Summer. A joy thunderous

will wake me from my wakesleep. A laugh,
a shout, a story told in excitation, coming
from one gleaming face or many with
the amber light of late day making the whole wide earth

look young.

 

When I see these stirring, affirming things

I cannot help but think you’d love them

were you here to see them, too.

Then I remember that you’re still alive

and all that I must do is call.

 

Diva

I’ve long dreamt of being Beyonce, waking up
to a view of the Alps in a pink silk robe.
I pick up the phone by my bed to let my
stylist know I’m awake to be draped in full glamor.

Traipse along marble floors to a kitchen filled with

peaches just ripe. My children would come greet me,

all smiles, having slept soundly. No radiator hissing

like a violent cat to keep them up at night.

I’ve long dreamt of the gas tank always full and
a driveway so that I never have to circle the block.
A pool when I need to cool off. A chef when I don’t want to cook.

But most of all, I want to sing
like someone beloved
in an outfit like a hymn.
To have people who love me
cheer just for standing before them.

To be celebrated. To be queen.

 

And after all that, I’d get to fall asleep
right when I lie down. That’s what I imagine it’s like.

 

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Interview: Annie Kim

 

Kim, Eros Kim, Cyclorama

 

Annie Kim’s second collection, Eros, Unbroken (2020), is the winner of the 2019 Washington Prize and follows her debut collection, Into the Cyclorama, winner of the Michael Waters Poetry Prize (Southern Indiana Review Press, 2016) and finalist for the Foreword INDIES Best Poetry Book of the Year. Her poems have appeared in such journals as Beloit Poetry JournalThe Cincinnati Review, Four Way Review, The Kenyon Review, Narrative, Plume, and Pleiades, as well as on The Slowdown podcast. The recipient of fellowships from the Virginia Center for Creative Arts and Hambidge Center, Kim works at the University of Virginia School of Law as the Assistant Dean for Public Service and teaches public interest lawyering. She is also a violinist, and as poet, she has collaborated with composer Aaron Stepp. This interview took place over email.

 

Rebecca Morgan Frank for The Florida Review:

In Eros, Unbroken, the preface poem, “Confession,” introduces us to two characters in this collection: Scarlatti and his friend Farinelli, a castrato. What drew you to these two figures as subjects?

 

Annie Kim:

One day I was listening to a Scarlatti album by pianist Anne Queffélec. I’d always thought of Scarlatti’s sonatas as these tiny, quick, chandelier-like things. But as I listened to the rollercoaster of emotions in the second piece on this album, the K.27 sonata, I was struck by how stormy and personal it felt. I was hooked.

 

As I Googled away, I learned that no one knows much about Scarlatti’s life. But I did find page after page about his friend, the singer Farinelli. Like a lot of promising young male singers at the time, Farinelli had been castrated as a boy to preserve the beauty of his voice. He went on to become the preeminent opera singer of his day. It’s hard to picture now, but castrati in 18th-century Italy were like K-Pop royalty. These boys were groomed for years to become the next big thing. Eventually, then, after a successful career on-stage, Farinelli met Scarlatti in the court of Philip V, where Scarlatti had been working as a music instructor to the princess. Farinelli was hired by the queen to sing each night to her mad husband as a form of musical therapy.

 

As you can tell, there’s plenty of drama here already! In a strange way, though, that drama seemed like the perfect counterpart to the story I was starting to write about my own life. I had been working on emotionally raw poems about my early relationship with my father. Writing about the body—my body—as the object of violence was something I’d never done before. Not fun. Locating an analogue of sorts in Farinelli made me feel better, more connected. The two “Castrato” poems in my book, then, emerged from my efforts to imagine Farinelli as a boy sacrificing his body for his music.

 

TFR:

In “Uses for Music,” you begin, “Because there is no soundtrack for the brain. / Because nothing has the beauty of a cage / you can enter when you want and leave behind.” This collection is steeped in music, from musical terms to musical forms and instruments (including the body.) What is your own background with music?

 

AK:

My musical background is pretty typical for an Asian American—I started playing violin in grade school, took lessons, did youth orchestras. Then, after a 13-year hiatus, I started playing again in a local chamber orchestra around the same time that I began my MFA writing program. Performing music has always given me a crucial emotional outlet. Now, those emotions are performed, as the quote from “Uses for Music” acknowledges. But those performances are still cathartic and restorative.

 

I think my musical experience also affects my everyday writing in subtle ways. It definitely informs how I think about progression or development. Playing Western classical music allows you to absorb musical structures like sonata form, theme and variation, preludes and fugues. These are all about creating patterns and then disrupting them. And, at the most basic level, you’re always moving between the poles of tension and release because you’re always driving toward resolution. Fast then slow, loud then soft. While I’m not consciously thinking about any of these musical strategies when I’m writing, they’re somewhere deep in my bones, in my inner ear.

 

Music also took on a major role in Eros, Unbroken. At a symbolic level, the body of the violin—my violin—became a metaphor for my own body. Both bodies can be violated, broken, and, fortunately, mended. In fact, I was practicing one day while writing this book when the soundpost inside my violin came loose from its upright position. Though the soundpost is just a tiny wooden stick, no bigger than a dowel, it’s essential to creating the violin’s voice. That dislodging felt terrible but revelatory—it was the necessary snapping that has to happen when you start grappling with old traumas, as I was.

 

I was also obsessed with trying to convey musical counterpoint—multiple notes, multiple voices—in words. It’s not really possible. But in the long sequences in the book (“Violins: Violence” and “A Hysteresis Loop”) and, most visibly, in “After Sonata Form,” I tried to suspend and juxtapose voices so that the reader could “hear” the first line still ringing a little even when the second line comes in.

 

TFR:

Your poem “Confession” even ends with the definition of counterpoint. Can you say more about engaging in this sort of poetic counterpoint with the collection’s larger narrative threads? Did this affect the overall shaping of this book?

 

AK:

Yes, and in every possible way! At its heart, counterpoint is about having your cake and eating it too. Two voices carry on simultaneously, going wherever they want but moving in ways that create productive tension and contrast. I was convinced I could find a way to counterpoint my autobiographical story with the Farinelli/Scarlatti one despite how crazy that seemed. I won’t lie—there was a lot of cursing.

 

Creating counterpoint with these two lines meant that I had to think hard about how to sequence the poems in the book. Certain material had to be introduced at particular points for narrative reasons. At the same time, I found that simply alternating story lines in an A/B/A/B fashion didn’t work. After a million different mash-ups and months of trial and error, I landed on a rough order that zigzagged between the two stories at moments that made emotional and dramatic sense. And, of course, a year after that first draft, I switched things around again!

 

Counterpoint also made me focus on how to make each story line stylistically distinctive. This was hard because the poems in the autobiographical strand ranged a lot in form. For instance, I had multi-page sequences composed primarily in short-lined, irregular stanzas, alongside a number of more traditional one-page poems. The Farinelli/Scarlatti pieces I decided to set as letters and dialogues. While I didn’t attempt writing in an archaic diction, I did use loose blank verse to give them a bit more cohesion.

 

TFR:

Can you talk a little bit about your path to becoming a poet? When and where did you first come to poetry?

 

AK:

Though I read poetry here and there throughout college, I didn’t try to write it until I was nearly thirty. I was practicing law. I was unhappy. I thought a lot about whether I wanted to have kids and decided that I didn’t. Late one night while I was having trouble falling asleep, I went downstairs and wrote a sonnet because that was the only poetic form I knew. It was a bad sonnet. But writing it felt so good! I started reading poems, writing poems, and then went to a few writers’ conferences where I met some wonderful teachers like David Baker. I eventually bit the bullet and applied to the low-residency MFA program at Warren Wilson College which, miraculously, let me in. I was so new to writing that it hurt. After graduating, I still felt adrift and unsure of myself, as many people do.

 

Really, it wasn’t until I stopped practicing law and started working at my alma mater, the University of Virginia School of Law, that I finally had the mental space to write well. Working with students taught me how to be more open, vulnerable, and emotionally expressive—all of which helped my creative work.

 

TFR:

You not only have a background as a lawyer, but in fact also serve as a dean in the Law School at the University of Virginia. Do you find that this background, with your training and experience in legal rhetoric, influences your approach to poetry, particularly your poetic arguments and structures?

 

AK:

All law students go through a writing boot camp when they start school. In that boot camp, you’re drilled on how to structure your writing, sentence by sentence. There’s even an acronym for how to organize your paragraphs called IRAC or CRAC. It goes like this: Issue (or Conclusion) – Rule – Application – Conclusion. Legal writing forces you, then, to get to your point quickly, signal where you’re going, and build in explicit transitions.

 

So when you consider how much poetry relies on intuition, surprise, jump cuts and leaps, you can imagine what it’s like for lawyers to write poetry! At the same time, all that focus on structure and argument probably forced me to be more critical of my writing than I would otherwise have been. Does this statement make logical sense? If it doesn’t make sense, does it still belong here?

 

These days I’m much more interested in loose poetic structures than in arguments. Structures that progress and resolve, sometimes narratively, but not always in fully explicable ways. How does an extended image, for instance, complete the “argument” of a narrative passage, for instance? How do tonal shifts and modulations “argue” different stances of the speaker? I love to see how poems can quickly and stealthily open up the infinite gray space within any subject.

 

TFR:

The longer poem “Violins: Violence” feels like the heart of this book—this is a poem that wrestles with difficult material in part by seeking ways to connect the words themselves, as well as through dialogue with Marcus Aurelius’s Meditations. What are the roots of this poem’s engagement with this particular text?

 

AK:

I was still working as a lawyer when I first read the Meditations. Though I liked my job, I got easily frustrated by people. It was comforting to read the inner musings of a man who had legitimate reasons to be stressed out (he was Emperor!). The form of the Meditations—serial, fragmented, often intimately voiced—reminded me why journal writing and, really, all forms of writing to yourself, can be powerful.

 

The text came to mind also because I was doing a lot of self-talk throughout the book, channeling the second-person voice. “Last night you dreamed again / about your father,” was one of the first fragments I wrote in the second person that eventually coalesced, with other bits, into “Violins: Violence.”  And the Meditations, of course, are written mainly in the second person, including the passage at the start of Book Two quoted in this poem:

 

When you wake up in the morning, tell yourself: The people I deal with today will be meddling, ungrateful, arrogant, dishonest, jealous, and surly. . . .

 

That second-person pronoun creates such an interesting and productive distance between the speaker and the self. It doesn’t exist when we simply say, “When I wake up in the morning, I should tell myself…” It acknowledges a legacy self. A self that can be interrogated, grieved, and consoled.

 

TFR:

One of the highlights of this collection is the series of Eros poems strung throughout the book. The imagery in these poems, among others, appears almost painterly. What role, if any, does visual art play in your writing: where do you turn to for visual inspiration or connection?

 

AK:

Like a lot of poets, I love visual art—its freedom and wordlessness. And sometimes I even try to write poems about art in the ekphrastic tradition. These are mostly terrible. For instance, I think I’ve attempted once a year for the past ten years to write a poem about Bernini’s massive sculpture, The Ecstasy of St. Teresa. Ditto for some seaport paintings by Claude. These poems fail because there’s no way to turn a bridge into a tambourine—one art doesn’t translate into another.

 

But I’m always interested in the poem as a vehicle for seeing. Writing imagery, for me, is like sticking my head under the black cloth of an old-school camera. Relaxing and absorbing, all at once. Until you mentioned it, though, I hadn’t noticed how much the Eros poems grapple with seeing. How much they want to touch. Eros isn’t about having, after all; it’s about wanting. Maurice Merleau-Ponty has a beautiful essay, “Eye and Mind,” in which he says that seeing “is to have at a distance.” To enjoy a “strange possession.” The painter’s work, then, is to make visible what the eye sees but cannot hold. The poet does that, too, but also tries to make visible what can’t be seen. To suggest the fine tissue layers of memory, thought, and feeling.

 

As for the art I go to for inspiration, I’m a sucker for Byzantine and early Renaissance religious painting. I love busy triptychs. Goldleaf. Virgins wearing angular blue robes. The summer light of Claude Lorrain. The wintry light of Hendrick Avercamp. All of Velázquez, Lucas Cranach’s Judiths, Klimt’s landscapes, Courbet’s life-sized Burial at Ornans, the abstract paintings of Richter in which you can occasionally glimpse a stream in the woods.

 

TFR:

What poem or collection of poems do you find yourself returning to across your life as a poet?

 

AK:

Oh, so many books by Frank Bidart! Especially his chapbook Music Like Dirt, which is both searing (like all his work) but also enormously generous. I could name more collections, but I hate it when people cheat on questions like this. Okay, I’ll cheat just a little: every year I read a poem by John Donne called “Hymn to God, My God, in My Sickness.” It’s about trying like hell to calm one’s fears about death. And it contains some of the most moving metaphors I’ve ever read: Donne surrendering his body as an instrument to be “tuned at the door” so he can become God’s “music.” Though I’m a staunch agnostic these days, I grew up in the evangelical tradition. Something about Donne’s struggles with faith in this poem and in the holy sonnets pierces me every time.

 

TFR:

If you were to build a poetic family tree, who are some of the writers you would be sure to include?

 

AK:

In addition to Bidart and Donne, I’d add my former teacher Rick Barot, Robert Hass, Anne Carson, Susan Stewart, and Tomas Tranströmer. From the twentieth century and earlier, Zbigniew Herbert has meant a lot to me (Mr. Cogito!), as has Elizabeth Bishop, Horace, and Rilke. On reflection, I see that this tree of mine is pretty old and overwhelmingly white. Sadly, it doesn’t include many wonderful poets—including many poets of color—whom I love and respect. But the poets I’ve named are the ones who nourished and challenged me when I was just starting to write and whose words continue to vibrate in my subconscious.

 

TFR:

Is there a third collection of poems in the works? What are you working on now?

 

AK:

Something is in the works, I hope! The pandemic unleashed a lot of prose in me, for whatever reason. Some of the new pieces I’ve written seem to fit squarely in the prose poem tradition. Others are more like short fables. In many of these I’ve been trying to foreground the artifice of poetry, the “so what?” of poetry. And letting humor come in. So maybe these pieces will pave the way for a hybrid collection at some point.

 

In a completely unrelated project, I’m toying with the idea of writing an opera libretto based on Eros, Unbroken. I’m taking a class offered by the Seattle Opera (one gift of the pandemic!) that’s sparked my interest, and I’ve been talking with my friend, composer Aaron Stepp, who has more experience with this than I do, about how we might write a chamber opera. Whether or not we’re able to actually do this, I just love thinking about the narrative and other creative challenges that would come with this project.

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Mother Pass

The sensation starts on the red-eye, as we hover sleeplessly over the Atlantic: a faint flutter and then a pulse. The creature’s movements have been perceptible for weeks now, but this is different, diffuse and repetitive with no clear beginning or end.

 

Across the aisle, an older man struggles to breathe, and the flight attendants sweep toward the glow of his overhead light, fasten an oxygen mask over his nose and mouth. One stays beside him, her voice a comforting murmur beneath the plane’s vibrations. His face calms, but the hushed aura of emergency will not dissipate.

 

My phone dings; it’s time to stand again. Zack leans across the seat to massage my calves. We’re vigilant against blood clots, which, I’ve been warned, could gather strength in the murk of my insides and detonate. Not unlike the creature itself.

 

Until recently, the pregnancy had been mostly an abstraction. I was thicker around the middle with beautiful, engorged boobs but otherwise physically unchanged. Then, over a few weeks, I’d swollen, expanded, inflamed. My hips became tender things, my legs rebellious, their faulty wiring tripping electric shocks of sciatica. For the first time in my life, my body is armed and dangerous.

 

“Birth is like the ocean,” a midwife friend said. “Don’t turn your back on it.”

 

 

The question of children had been the defining fight of my relationship with Zack. More than anything, he wanted to be a father. But I dreaded motherhood, which seemed like a kind of brainwashing. On social media, old friends changed profile pictures to their children’s faces, as if the women themselves no longer existed. In interviews, famous actors declared motherhood the greatest role they’d ever played, as if children obliterated all achievements, took precedence over all desires. Even my own mother, now an accomplished professor with stints in Siberia and Central Asia, had put off work and travel when my brother and I were young, staying behind while my photographer dad spent the month in Tibet or Bosnia.

 

I, on the other hand, cultivated an unsettled, underpaid life with myself at the center. I bounced from Oregon to Thailand to Western Mass to DC to Philly, following friends and boyfriends, spending whatever extra money I had on parties and clothes. And why shouldn’t I be the center of my own existence? Men have lived selfishly for millennia and been rewarded for it. From what I’d seen, motherhood was womanhood at its least fun and most societally sanctioned: the useful body, the selfless days, the life of service.

 

But then I met Zack, a steady partner with a wild, artist’s soul, an uncommon combination. We fell in love, moved in together, built a whole universe of jokes and routines. If I refused motherhood, I’d have to start over without him. The thought was unbearable. After nearly a year of arguments, I’d decided our shared world was worth the many risks of having a child. At least I hoped it was.

 

I was thirty-five, we were newly married, and I got pregnant the first time we tried, as they say. The months of pregnancy stretched ahead of me, birth looming at the end like a ritual sacrifice. And then motherhood, in which I would be eaten alive by hormones and sleeplessness, reduced to a mere zombie of my previous self.

 

Travel seemed the only possible answer, the way I’d sought escape since I was young: familiarity sloughed away so only my bright, receptive core remained. Adventure.

 

Or, in this case, a visit to my brother and his family in Berlin.

 

The midwives said I could fly up to the thirty-fourth week of pregnancy, and I wanted good weather, so I booked our vacation for early May, my thirtieth week.

 

“Let’s set up the baby’s room before we go,” Zack had said.

 

“If he comes that early,” I said, “we’ll have bigger problems than a baby room.”

 

And now this fluttering pulsing in my gut, unlike any sensation I’ve read about online.

 

 

At the top of five interminable flights of stairs, we arrive at our Airbnb. A flustered young woman waits for us. Her father has just died, she explains in English. She canceled her other rentals but forgot ours. She needs a minute to collect her things. Torn between empathy and exhaustion, we follow her inside. I’m not about to surrender our rental after all those stairs. Plus, we don’t have anywhere else to go.

 

Her nondescript apartment is still strewn with belongings: mail on the table, necklaces on hooks, a cardigan over the back of the Ikea couch. There’s a risqué glamour shot of our host above the kitchen table. But a balcony overlooks the German rooftops. We can see the rough, rebuilt streets we wandered on our only other visit to Berlin, almost exactly a year ago. The overgrown parks where we drank beers in the sun. We could live in this city, Zack and I said then. We talked about it all year.

 

Finally, our host hands over the keys, and the door shuts behind her. We curl up on the hard couch, my belly against Zack’s back, the relief of arrival a near-physical release. But an hour later, the pulses wake me, more insistent this time.

 

I slide away from Zack without disturbing him. There’s an early spring chill in the apartment, and he’s wearing his black hoodie and knit beanie. He started going bald as a teenager, and he’s had a shaved head and full beard as long as I’ve known him. Zack isn’t a big man—he likes to say he wears size “smedium”—but he’s broad-shouldered and solid. The sight of him sleeping heartens me; nothing bad can happen when he’s nearby.

 

I begin researching the pulses on my phone. Google points to harmless “false contractions,” otherwise known as Braxton Hicks. Practice contractions, I read. A tightening that comes and goes. Normal, especially in the second and third trimesters. I take a deep breath; this has to be what I’m experiencing. But how will I know the difference between false contractions and real ones?

 

Unlike labor contractions, Braxton Hicks are not painful, I read. They do not come at regular intervals and do not become more frequent.

 

I try to time the pulses to see if they’re coming at regular intervals, carefully noting the start of each on a scrap of paper. But they’re slippery. Where is the border between sensation and no sensation? Our host’s digital clock, in military time like all European clocks, won’t cooperate. My list of numbers doesn’t make sense, refuses to attach to the minutes in this unfamiliar room.

 

But the sensations aren’t painful, I don’t think, just unpleasant, and I don’t want to be one of those uptight pregnant women who rushes to the hospital at the slightest thing.

 

 

Representations of birth are everywhere in pop culture, but they rarely include a satisfactory explanation of what labor actually feels like. The real-life movie we’d watched at the midwifery practice where I planned to give birth was no help either. Naked from the waist down, a woman rocked and sighed while her partner massaged her hips and the midwives moved purposefully around her. But her eyes were closed, and she seemed completely oblivious to her surroundings. I was appalled that anyone would let themselves be filmed in such a state.

 

The mysteries of the body have always frightened me, its unknowable organs and breakable bones. A troublesome shadow self that operates within me, conducting its own secret, perilous business.

 

In a yoga training, years ago, the teacher instructed us to embody our endocrine system by lying fetus-like on the floor. Then we were to rise slowly, as if through amniotic fluid, exploring movement with the moist, heavy knowledge of our kidneys and adrenals. As the other women wriggled around me, I found myself frozen with anxiety. What were my kidneys doing in there? And what if they stopped doing it? I had no control over their function or disfunction, and that petrified me.

 

As a child, my blood pressure spiked for routine physicals, though I rarely suffered even minor illness or injury. My doctors, all women, were mostly kind, but I still hated their touch. Cold fingertips searching for something gone wrong inside me. Proof that my body could contain the ultimate betrayal.

 

But even more than the exam, I dreaded the ride home, when I’d be trapped in the car while my mother talked about serious things. Woman things. For years, I wished not to get my period until I was older, to put off adulthood just one more year. I must have sensed how once my body was a woman’s body, it would cease to be only mine. I would occupy it, but others would regularly lay claim. Sometimes as an object of adoration. Sometimes an orifice. Sometimes a receptacle for a child.

 

 

The Braxton Hicks, if that’s what they are, haven’t worsened by dinnertime, so Zack and I walk the few blocks to Caleb’s co-op, passing kebab shops and knick-knack stores, oases of green tucked between imposing post-war apartment buildings. Caleb lives in one of these, and we cross a ramshackle courtyard to find him waiting for us at the door. My little brother, who at six feet tall is much larger than I am. My brilliant, loving brother, who has known me every day since memories began.

 

This is the first time he’s seen me pregnant, and I’m self-conscious of my conspicuous femaleness, my body-ness. But he doesn’t comment on my belly, just wraps me in a hard hug.

 

Caleb’s wife, Michele, and their son are in the kitchen they share with eight anarchist-leaning twenty-somethings. A dirty, inviting space packed with mismatched chairs and sundry dishes, recycled jars with no clear use, labels on everything, a chore chart. The cozy chaos of communal life. Nothing can replicate it.

 

Michele is American, though she grew up in Germany, which is why they are here. She’s warm and self-possessed with a wide, genuine smile. She and Caleb have been together ten years, so she’s known me through multiple cities, jobs, relationships. I would trust her with my life.

 

Thirteen months old and small for his age, my nephew is all silky blond hair and blue eyes. The last time we were here, he was six weeks old, a compact bundle of incessant need. It was a few months before our wedding, after which I’d agreed to get pregnant. Finding a baby in such close proximity was a shock.

 

During that visit, Caleb had worn him on his chest in a complicated wrap that appeared to be just a very long piece of fabric. The baby was hot or he was hungry or he had pooped or he was crying, and Caleb was always taking him off or putting him back on, tying and untying the wrap with its ends trailing on the ground.

 

Love for my nephew was supposed to come naturally, the way loving my brother did, but I could only see an infant like any other. Except this one would not let Caleb finish his sentences. No conversation was satisfying. No excursion went smoothly. Our time together was chopped up by baby cries and baby needs, and my future flashed before my eyes. But the wedding invitations were sent, my committment to parenthood sealed.

 

 

Years ago, I spent a night babysitting a friend of a friend’s son. This wasn’t something I did much, not even as a teenager, and I was exquisitely bored while the evening crept by.

 

As I was taking the little boy up to bed, he ran to the open window and yelled “Mommmmmyyyyyyy” into the darkness. “I can’t stop thinking about my mommy,” he sobbed when I comforted him.

 

The intensity of his love repelled me. A burden to be on the other end of all that need. I planned to be a successful writer and a world traveler, a woman who lived by her own rules. How could I have the life I wanted while a child cried for me?

 

Still, when motherhood was a distant fantasy, I assumed I’d have children someday. I let that assumption drift alongside me for years, a hazy possibility that contained a child.

 

Then women my age began to have kids. The Facebook feed of baby photos. Friends swallowed whole by their love. I’d never liked children, but I started to hate mothers. They canceled plans for nap schedules. Their conversations revolved around breastfeeding and daycare. What had happened to the brilliant, complex women I’d admired, the ones who were the protagonists of their own stories?

 

 

Over dinner with Caleb and Michele, I describe the sensations, but Michele didn’t have Braxton Hicks during her pregnancy and doesn’t know what’s normal. No one seems very worried. My due date is ten weeks away. We’re supposed to be on vacation.

 

But it’s been hours, and the Braxton Hicks, or whatever they are, won’t go away.

 

“I think I need to go to the hospital,” I say at last.

 

 

Michele, Zack, and I take the U-Bahn to the nearest hospital. Caleb stays with the baby, since Michele’s German is better than his. Through three never-ending subway stops, Zack and Michele small talk while I sink into my body. The contractions are suddenly agonizing, and I can barely keep up as we climb the flights and flights of stairs to the exit. It’s past ten p.m. when we finally emerge at the dark hospital grounds, which are sprawling like a college campus. Michele locates the correct building, and a receptionist asks for my passport through a hole in the window.

 

At first I can’t find it—If they won’t see me, I will refuse to leave—but thankfully it’s still in my bag from the flight.

 

“And your Mother Pass.”

 

“What? I don’t have one of those.”

 

She frowns. “That is not possible.”

 

I look helplessly at Michele.

 

“Here pregnant women get a Mother Pass from their doctors,” she says. “It has all your medical history.” She speaks German into the hole.

 

The receptionist narrows her eyes but waves us past.

 

We come to a waiting area with a couch and chairs, glass bottles of sparkling and still water. The hospital is clean and quiet with a pervasive sense of order, more like an office building than an American emergency room. No one else is waiting.

 

Now that we’re here, the contractions seem further apart, like when your car won’t make that strange sound at the mechanic. After what feels like a long time, a nurse brings us to another room for an EKG.

 

“They’ll be able to monitor the baby and the contractions,” Michele translates.

 

On my back, with my belly bearing down on my spine, I hope for contractions, so the machine can record them, and soon they gather strength and roll through, beginning low in the bowels, like intense menstrual cramps and radiating outward, down my legs, up my back. I watch the clock, trying to keep track of them, but the minutes have detached from their numbers again.

 

Zack and Michele are beside me, but it’s like they’re in another room. Here, the world has shrunk to a pinpoint of panic. I don’t tell them about the contractions; they can’t save me.

 

 

In my twenties, I spent six months in Thailand, where I regularly rode helmetless on the back of a friend’s motorbike. With his girlfriend between us, we raced down the unlit highways outside Chiang Mai, late at night, after we’d been drinking. That New Year’s Eve, a different friend and I ordered magic mushroom tea at an island bar, then hitched a ride in the back of a stranger’s pick-up, careening over the dark, potholed roads. Airborne as he accelerated, we clutched each other with the grim clarity that this had been a very bad idea.

 

Another time, in the US, a boyfriend ordered a research drug from the internet, which arrived in a pile of white powder that we eyeballed into doses. We took the drug camping, where we lit a fire, then wandered into the wilderness until we were utterly lost. The hallucinations illuminated the woods, turning the trees brilliant orange. We hadn’t started a forest fire, but I genuinely couldn’t tell.

 

In those days, my body was co-conspirator, collaborator. A tool for attracting men and converting drugs and withstanding risk, even with fear humming alongside. What could I take, who could I touch, where could I go to get closer to the yearning, seeking, wanting aflame under my skin. A brush with death here and there felt like part of the deal I’d made to be a girl let loose on the world.

 

Before Zack and I were married, when motherhood seemed unimaginable, I envisioned myself as that girl again. I saw how my parents would grow old and die. I saw how my brother would be absorbed by his new family. And I would have nothing to which to anchor myself. I would float away. But a child could ensure my place in the sequence. I would take my spot in the human cycle of generations. Better to have that mooring than none at all.

 

Now my body itself is anchor and threat: soft, vulnerable, contracting.

 

 

Unhooked from the machine and back in the waiting area, I’m increasingly desperate. The deep, gut-sick feeling expands and obliterates. Like waves of terrible diarrhea combined with a kind of nausea. Only this nausea does not point up to the throat but down. Inside a contraction, stillness is ludicrous, and I squat, stand, squat again. Though movement does not bring relief, it is my only weapon against the roiling pain.

 

Michele is about to look for help when a woman calls us into an exam room. Her manner is brisk and dismissive, and she must be a decade younger than I am. I instantly dislike her. But she appears to be the doctor, and she speaks English.

 

“Where is your Mother Pass?” she asks.

 

“I don’t have one.”

 

She’s incredulous. “But you must have a Mother Pass.”

 

“We don’t in the US.”

 

“That is impossible. You cannot travel without a Mother Pass.”

 

“I just don’t have one.”

 

She eyes me suspiciously. “When is your due date?”

 

“July 9th.” Today is May 1st.

 

She doesn’t react, consults the EKG results. “The baby is fine,” she says. “He is not under stress.”

 

“What about the contractions?”

 

“They don’t mean anything.”

 

I stare at her, speechless. I will not leave this hospital.

 

She speaks to Michele in German, practically rolling her eyes, then instructs me to get on the table for an ultrasound. I do as I’m told, helpless and enraged.

 

On my back again, in exquisite discomfort, the doctor presses the ultrasound wand hard into my belly.

 

A second young woman has appeared, a nurse or another doctor, and she draws a curtain between us and Zack and Michele. They tell me to strip from the waist down, but do not offer a sheet or a hospital gown. I have no choice but to bare myself.

 

Instead of an exam table with stirrups, they direct me to a spread-eagle chair. My thighs rest on movable arms that spread up and apart, exposing and restraining me. Tears run down my cheeks into my ears. They poke and prod and swab indifferently, while I writhe in pain and embarrassment, muted by my sore, defenseless body.

 

“Stay still,” they say over and over.

 

“I can’t,” I say. “I’m having a contraction.”

 

At last, they check my cervix.

 

“You’re two centimeters dilated,” the first doctor says, surprised.

 

I could have told you that, I want to scream.

 

“You will stay here with us.” Her voice is gentler now.

 

I begin to sob uncontrollably, desperate to get out of the spread-eagle chair.

 

“Can I come over there?” Zack calls from the other side of the curtain.

 

His alarm is audible, but I don’t want him to see me in that chair.

 

The doctor explains what they will do. First, a steroid shot to develop the baby’s lungs. Then a magnesium drip to slow the contractions. “You may be here a couple weeks or more,” she says. “But you will eventually need a C-section because the baby is breech. Do you understand?”

 

“Yes.”

 

I’m allowed to move from the chair.

 

“You may not be able to have a vaginal birth in the future after a C-section,” the doctor says. “Do you understand?”

 

“Yes.” I almost laugh at how little this concerns me.

 

They pull back the curtain, and Zack rushes to the table where I’m curled with the magnesium IV in my arm. He hugs me, his face wet against mine, his worry and love pulsing through me. I matter to this person.

 

Then the worst contraction hits, and I’m pinned moaning beneath it. They say women don’t remember the pain of labor, but I will. I will replay the experience over and over, so I won’t forget, so I can tell people. But even though my memories will be clear, the words will never be right.

 

The doctors must be sufficiently alarmed, because they check my cervix again. I’ve gone from two to nine centimeters dilated in twenty minutes, a process that usually takes hours.

 

“The baby has to come out now,” the first doctor says.

 

 

I’m a body on a gurney, wearing only my T-shirt, rolling through hospital hallways. Strange faces speak above me.

 

“Can I have something to cover me?” I ask.

 

The faces seem startled. I’m given a sheet, but it’s folded in a tight square.

 

Soon we’re in the bright operating room.

 

“Stay still,” is all they say in English.

 

An impossible request as the contractions rage through me.

 

Everywhere hands are on me, swabbing, prepping, holding down my legs. These hands are an invasion, and they will save my life.

 

One of the faces removes its mask, leans close. “I’m the surgeon,” says a woman, calm and serious. “We strongly recommend a C-section, but if you want you can try to birth vaginally.”

 

I’m confused and horrified. “No. C-section!”

 

“So you agree?”

 

“Yes.”

 

Next the anesthesiologist materializes at my side. His eyes are kind. “We don’t have time for an epidural,” he says. “We will use general anesthesia.”

 

I know this means my situation must be very serious.

 

He asks questions that seem crucial. Do I have medication allergies? Are there heart conditions in my family?

 

I search my mind for the right answers. “Caffeine gives me heart palpitations.”

 

“Has it ever caused you to have a heart attack?”

 

“No, just anxiety.”

 

He laughs, a comforting, human noise.

 

I want to tell him not to let me die, but even saying those words feels like a curse. “Take good care of me.”

 

“I will,” he says.

 

Last, a woman grasps my hand. “I’m the midwife,” she says. “I’ll be looking after your baby.”

 

I had practically forgotten the baby; in this moment it is of no consequence to me.

 

The anesthesiologist puts the mask over my face. “You may feel warm.”

 

Instead, cold spreads down my throat, and the world blinks off.

 

 

This is when the body becomes just a body. It still wears my jewelry, has my face and unruly hair. They cut it open, take the creature out, sew it back up. The surgeon’s long hands tighten the skin, seal the body closed. Then they dress the body in mesh underwear, an oversized pad for the blood. At last they cover the body and wheel it away.

 

 

I wake up in the recovery room, delirious with drugs and gratitude. I’m alive alive alive.  Zack, Michele, and Caleb surround me, laughing; I’ve said something funny. My good fortune is overwhelming, life unbearably sweet. The creature is expelled, my body uninhabited, released from its sentence as vessel, repository, container. The sacrifice has been made and yet here I am, whole on the other side.

 

But above my pubic bone, a bright wound burns, the skin around it numb.

 

In a few days, I will leave this hospital, so exhausted that Zack will push me in a wheelchair for a week. But months later, scanning myself critically in the mirror, even I will see that this new body, once cut open and sewn shut, is nearly indistinguishable from the old body, the one that, barely tethered, pitched carelessly through the world. That white line above my pubic bone will seem a small price to pay for this body.

 

And my son? Red and little and too young to be angry, he’s taken to the NICU, attached to tubes and monitors. For four weeks he will drift there, mostly asleep, a tiny uncertain presence. In six weeks, he will be released from the hospital, and in ten weeks, he’ll be cleared for the long, long-awaited flight home. Will I love him? Slowly, yes. But this is not his story.

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